if you haven’t made your blog yet, please do ASAP.
here we go!
here we are, midway through the semester, and it feels like we just began. well, at least in terms of the course’s conversations, if not in my winter-weary bones themselves.
as hoped for, we’ve had some vibrant discussions about film, memory, evidence, interpretation, visuality, and truth. the group is an amalgam of comparative humanities and public history folk, which in some ways is the classroom community i’ve been waiting for. i myself was trained in cultural studies, interdisciplinary humanities, museum studies, public history, and then, finally, a traditional history doctorate. among us, we’ve got perspectives on postcolonial theory, memoir writing, indigenous politics and history, journalistic standards, museum education, community history projects, and a rich variety of personal backgrounds. one of us comes from a film studies background, another was a subject of a documentary film in high school. some of us watch doc films whenever possible, some were never really drawn to the form before this term.
even though i connect with each of my students in terms of training or life, or both, i’m finding it a rewarding challenge to structure our conversations in a way in which all are engaged and everyone truly interacts with the ideas of others. most sessions a student leads us through the week’s readings. as they’re doing this, i’m trying to give them the space to make a meaningful contribution to our class while also finding a way to work in my approach to the material. i often joke that it means i’m the class border collie. i love this method. i get so much more from our readings because their ideas structure our conversation rather than my four or five points leading the way. it’s also an opportunity to further develop my feminist pedagogy chops, as i court that sweet, sweet, sweet spot of sharing control, challenging them, and reworking power relationships within the classroom.
and, i’m also trying to blog more myself as i go, both for transparency’s sake, but also to keep our conversations alive all week. as we spend a fair chunk of our time together watching films, it’s nice to let the ideas flow back and forth across the ether throughout the week. i love getting the notification that one of them have written, and it really keeps a circular flow to our movement through the weeks, rather than all of the class energies manifesting only on thursday night.
now, if i could only discipline myself to actually write my posts more than a few hours before our class meeting…
as we study film and the past, it’s nice to be reminded that film works for our futures, too.
Watch this. Very sweet:
This term I am embarking on an exciting and daunting new path. I have been mulling the role of documentary film in the cultivation of historical knowledge for several years now since becoming hooked on the form by attending the True/False Film Festival for the first time eight years ago.
And, I am not the only convinced of the power of non-fiction cinema in evoking the past. Film scholar Bill Nichols suggests that “film itself provides a tangible “memory theater” of its own. It is an external, visible representation tation of what was said and done. Like writing, film eases the burden to commit sequence and detail to memory. Films often become a source of ‘popular memory,’ giving us a vivid sense of how something happened pened in a particular time and place.” For Nichols, doc film is inherently historical, as an interpretive text that engages human experiences in the past. I am inclined to agree and probe even further into the production of this popular filmic memory.
So, this term, as I feel much more green than I would teaching a course for which I had been formally trained (interdisciplinary humanities and museum studies at the BA and MA level, traditional history doctorate), I intend to embrace the journey along with my students, blogging the experience and creating my own short doc film along with them. This promises to be a wild and varied term.
cool oral history mapping project and a new tiya miles’ book!
Narratives of Displacement Oral History Project
Anti-eviction Mapping Project of Bay Area Residents:
Alexandra Chemla created the app, Art Binder. The app allows you to digitally collect artwork and its details.
Interview with Chemla:
Book: Tales from the Haunted South: Dark Tourism and Memories of Slavery from the civil War Era, Tiya Miles
Listen to her:
I heard Dr. Miles on Here and Now (with Robin Young and Jeremy Hobson): “How Ghost Tours Often Exploit African-American History.” She discussed her new book, which focuses on tours in the South that provide tours to homes were slaves died and lived and where slaves are buried. She argues these tours are not accurate and exploit slavery.
wonderfully thoughtful post from one of my students on shared authority in her thesis work.
Our readings for this week all deal with the construction of narrative. Katherine Borland’s “That’s Not What I Said: Interpretive Conflict in Oral Narrative Research” was particularly resonant for me. In this article, Borland relates the story of interviewing her grandmother about a past life experience, and the ensuing conflict that arose between them when Borland’s interpretation of the story’s meaning was quite different than that intended by her grandmother.
I am currently engaged in research for my thesis, the subjects of which are members of The Sisters of Loretto, an order of Roman Catholic women religious. A significant number of my sources are Sisters’ oral histories–some conducted at the time of the order’s 200th anniversary in 2012, and others that I have or may conduct myself. My first contact with the Sisters of Loretto was this past summer, when I began working as an intern in the archives…
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an exciting crowdsourcing initiative discovered by one of my students.
So this is too cool to me, I had no idea this was a project the SI was pursuing until I was looking around for a guide for a volunteer who wanted to transcribe letters. The SI is actively letting people assist in their transcription efforts, I personally often fall into the camp that there’s just not enough time for me as a professional to do this in my daily work for it to be valuable to my institution. I also sometimes get the feeling that maybe you should learn to read handwriting if you’re interested in researching in something historical, but I have come more and more around to the ideas of accessibility. This is a great way to get this type of work done, especially considering the size of the SI’s collections. So, if you want to really get to know the way to transcribe manuscripts, how to…
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